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"Asphalt, Muscle & Bone" at "Numéro Cinq"

I love the synopsis of bill hayward‘s new film asphalt, muscle & bone.

A something restless and still, unexpected and empty. The morning launch moors at The Fat River Hotel landing. The Woman in Room 43 of The Fat River Hotel looks out the window of her room. The Man in Room 124 of The Fat River Hotel looks out the window of his room. There is dancing in the Ballroom of The Fat River Hotel. The daily delivery of bread and salt goes missing from The Hotel kitchen as soon as it arrives. A burnt world awaits the visitors to The Museum of Emotions. Radio traffic, letters and messages. Trees. Watchers. Wind.

 

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Visit hayward’s blog and be tantalized.

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Gordon Lish

(Click to continue Introduction)

 

 

From time to time I will be posting some “words” associated with the production of the film’s imagery. Any resemblance between the two will be purely coincidental, but always from the heart. AMB-TITLE

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ASPHALT, MUSCLE & BONE is a disruptive reclaiming the primacy of the body and blood of the feminine, the creative process. It practices instinct, mystery and imagination. It asserts mutuality, sensation and the impossibility of love. The real secret isn’t even in the picture.

TIME: The “continuing present” – the only memory, only always

LOCATION(s): The Territory, The Fat River, The Fat River Hotel – guest rooms and amenities, The Museum of Emotions & Museum Store, The Clearing & The Orchard of Burning Apples, The Ruins, The Plutonium for Incubation, Outlaw Lands where even God has not been, A Hundred Year Old Room

THE CAST: There are Women, there are Men. Hotel Guests, Museum Goers, Wanderers, The Front Desk, The Watchers, Questiarii, Shadows and Shades, Gasoline Angels, Panicked Prophets, The Wound Bearer, Witches & Furies, Bathing Nymphs, various Apparitions. There are also atmospheres of weather, celestial bodies, biology and body and blood

PROPS: Various to include, but not limited to: Postcards available in The Museum Store, Prepared Books (some of which can only be read in the dark, others that have spent time in the sea), Maps, Letters/Messages on paper (some in envelopes), Mirrors, Fluids and Jars of Creation, Pearls, Broken Trees, Paintings, Pigments, Sculptures, Photographs, Mud, Roots, Stones, Paints, Paper, Canvas, drawing and painting Implements, Recipes, An Eros Box, Vision Machines, Intercoms, Notebooks, A Radio Transmitter, Rafts, Boats, Planes, A Moon, Windows, Water, Tables, Chairs, Book Boots, Carbon, A Sad Toy, Umbrellas, Cameras, Flowers of the World, A Sphinx, A White Weapon, Wonders of Nature, Horizon O, Horizon A, Horizon B and Horizon C, The Sperm of Angels, Canvas Virgins, Backyard Gods, Bonfires, Vaginal Salts, Relics of Fugitive Bodies, Medieval Neon.

WARDROBE: Various and often extemporaneous, to include: men’s white shirts, jeans, coats, ties and jackets, red dresses/skirts, T-shirts, black dresses, rags, pearls, The Useless Dress, Acid Burned Talismatic Lipsticks

ACTIONS (partial): Dance, Singing, Alarms & Diversions, “Gestures accordingly”, Pleasures of Body and Flesh, Weeping, Vows, A Game Of Legs, Miracles of one sort or another, The Baptism of The Dead, “Instants that drip and are thick with blood”, A Central Crime of Passion, Certain Big Moments, Habits of Fire, A Fierce Chiaroscuro, Vertical Thrusts

SOUND: Sometimes B flat 1-1/2 steps from middle C, “Accordingly”, “Black Sounds”, Dead Silence

SOME DIALOGUE:

Woman in Room 48
Almost me, almost you…(pause) I knew a guy once.

Front Desk:
Good afternoon guests – this is your Fat River Hotel wednesday afternoon courtesy update. Low tide will be at 4:35 this afternoon. At low tide the Hotel beach is thirty feet longer than it is at high tide. It is to be desired that everyone keep his own eyes/Clean

Voice Over:
Humpty Dumpty sat on a wall. Humpty Dumpty had a great fall. All the king’s horses and all the king’s men couldn’t put Humpty together again

SYNOPSIS (partial): A something restless and still, unexpected and empty. The morning launch moors at The Fat River Hotel landing. The Woman in Room 43 of The Fat River Hotel looks out the window of her room. The Man in Room 124 of The Fat River Hotel looks out the window of his room. There is dancing in the Ballroom of The Fat River Hotel. The daily delivery of bread and salt goes missing from The Hotel kitchen as soon as it arrives. A burnt world awaits the visitors to The Museum of Emotions. Radio traffic, letters and messages. Trees. Watchers. Wind.

The Woman in Room 43 is in the third day of her menstrual cycle

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The Museum Of Emotions, A Night with Bill Hayward

 

 

 

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This from The Best American Poetry blog regarding my presentation “The Museum Of Emotions” for the launch of The Coffin Factory#4 magazine at Housing Works Bookstore

 

Hayward supplies high style with a memory; he induces sheer surface to have a history.  By undermining the camera’s command of appearances, he helps us sense the life, the tangled motives, behind the carefully arranged appearances his sitters offer to him and to us. And in the process , he grapples with his medium as impatiently as any painter, any collagist, or indeed, any sculptor. Yet he remains calm, despite his own agitation and that of the scene he records. And with his calm comes an astonishing sympathy. 


This is from the catalogue essay by Carter Ratcliff  for an exhibition of my work in January 1987.

Ballerina Wilhelmina Frankfurt’s memoir of George Balanchine in Psychology Tomorrow Magazine #3wilhelmina frankfurt

 

The Coffin Factory, #4 has just  published a sampling of the Postcards available in the Museum Store at “The Museum of Emotions”,  a central location in my film “asphalt, muscle & bone” – bill hayward